05 September 2020

Two Judaica prints are
reminders of Kilkenny’s
great Jewish senator

Two Judaica prints, one Sephardic and one Ashkenazic … a surprising find in a shop window in High Street, Kilkenny (Photograph: Patrick Comerford, 2020)

Patrick Comerford

Walking along High Street in Kilkenny, my eye was immediately caught by two items of Judaica in the window of the Oxfam shop.

These were high-quality prints or reproductions of pages from the Barcelona Hagadah in the British Library in London and ‘Kennicott 3,’ a rare example in the Bodleian Library in Oxford of a lavishly illustrated 13th century Ashkenazi Pentateuch, first collected by Benjamin Kennicott.

The second stage of this late summer ‘Road Trip’ had brought two of us from Clonmel to Kilkenny, and we were staying in the River Court Hotel, with views of Kilkenny Castle sitting high on the banks of the River Nore.

Both items struck me for their beauty, but also because there has never been a continuous Jewish presence in Kilkenny and yet Kilkenny has been the home of Ireland’s most famous Jewish woman politician and public figure.

The Hagadah is used in Jewish homes on Passover eve to commemorate the Exodus from slavery in Egypt. The text is a mosaic of biblical passages, blessings, legends and rituals arranged into a 14-step sequence. The Hagadah teaches young people about the continuity of the Jewish people and faith in God.

The Barcelona Hagadah was produced in Barcelona in the 14th century. The text is written in a neat square vocalised Sephardi script. As well as the Hagadah text, the manuscript contains the Laws of Passover, liturgical poems and Torah readings for the Passover festival according to the Sephardi custom, and poems and other readings according to the Provencal rite.

Unlike other Spanish mediaeval Passover Hagadot, the Barcelona Hagadah lacks the characteristic cycle of full-page biblical miniatures that normally precede the main text. In contrast, many of its folios abound in glorious illustrations depicting Passover rituals, biblical and midrashic episodes and symbolic foods. No fewer than 64 of its 161 folios are ornamented.

The tooled Gothic word panels are particularly stunning, as are the marginal lush foliage scrolls interwoven with human figures, birds, hybrids, grotesque and fabulous animals.

Nothing is known about the makers of this codex. But several inscriptions in the manuscript help to identify some of its past owners. It was sold by Shalom Latif of Jerusalem to Rabbi Moses ben Abraham of Bologna in 1459 for 50 gold ducats, showing it had left Spain prior to the expulsion of Jews expulsion in 1492.

It was owned in the 17th century by Jehiel Nahman Foà, a collector of manuscripts and books, and later by Mordecai and Raphael Hayyim, two members of the Ottolenghi family, a prominent Jewish Italian family. The British Museum bought the Barcelona Hagadah in 1844.

On the other hand, ‘Kennicott 3’ is a rare example of a dated and lavishly illustrated Ashkenazi Pentateuch with the Five Scrolls and additional readings from the Prophets.

Its origins are still unclear, with possibilities ranging from northern France to Krinau in north-east Switzerland. But it is noted for the quality and imaginative power of its illuminations, and the coherent arrangement of the various components of text on the pages.

The Carnegie Library on John’s Quay … one of the philanthropic projects in Kilkenny sponsored by Lady Desart (Photograph: Patrick Comerford, 2020)

Kilkenny’s most famous Jewish politician and public figure was also one of the city’s great benefactors at the turn of the 19th and 20th centuries: Ellen Odette Cuffe (1857-1933), Countess of Desart, was the widow of William Ulick O’Connor Cuffe (1845-1898), 4th Earl of Desart. She was born Ellen Odette Bischoffsheim in London, and became a philanthropist and politician, as well as President of the Gaelic League. She could be described as the most important Jewish woman in Irish history.

Lady Desart was a daughter of Henri Louis Bischoffsheim (1829-1908), a wealthy Jewish banker of German origin. He was responsible for founding three of the largest banks in the world: the Deutsche Bank, Paribas Bank, and Societe Generale. She married William Cuffe (1845-1898), 4th Earl of Desart, in Christ Church in Down Street, Mayfair, on 29 April 1881.

The Bischoffsheim family originally came from the Rhineland. In 1827 Jonathan-Raphael Bischoffsheim married Henriete Goldschmidt and co-founded the bank of Bischoffsheim and Goldschmidt. When Henri Louis Bischoffsheim took over the family bank in the late 1860s, he was said to be one of the wealthiest men in Germany. In 1856, he married Clarissa Biedermann, whose father had been court jeweller to the Hapsburgs in Vienna. The head office of Bischoffsheim and Goldschmidt later moved to London.

For much of their life, Lady Desart and her husband lived at Desart Court, between Kilkenny and Callan. The Carnegie Library on John’s Quay is one of the many philanthropic projects in Kilkenny she sponsored with or in memory of her brother-in-law, Captain Otway Frederick Seymour Cuffe (1853-1912), a former Mayor of Kilkenny. Her other projects included Aut Even Hospital (1915) and the Desart Hall in Kilkenny. She also established local woodworking and woollen industries.

This Carnegie Library, a distinctive landmark by the banks of the River Nore in Kilkenny, opened in 1910. It was built through sponsorship from Andrew Carnegie (1835-1919), was designed prepared by the Tyars and Jago practice in association with E Stewart-Lowrey and Son, and stands on a site donated by Lady Desart.

It is a detached, three-bay, single-storey classical-style building, with an elegant bowed Doric portico at the centre, single-bay, single-storey, gabled flanking end bays, and four-bay, single-storey side elevations. The classical theme of the composition is enhanced by finely-detailed dressings to the window openings, and an open work steel turret on an octagonal plan with a copper-clad square-profiled base and a lead-lined ogee dome.

In a cost-effective measure that appealed to Carnegie’s frugal agent, James Bertram (1872-1934), the library was built almost entirely in fine concrete block, imitating local Kilkenny limestone. This was an early use of concrete block in the Kilkenny area.

The site was bought for £600 by Lady Desart, who also paid for the furniture. The foundation stone was laid in 1908. The library was handed over to Kilkenny Corporation in 1910 and was opened on 3 November by Lady Desart. Later that day, she was conferred with the Freedom of the City. Until 1972, this remained the only purpose-built facility offering a range of library services in Co Kilkenny.

The Lady Desart Pedestrian and Cycle Bridge opened in 2014 (Photograph: Patrick Comerford, 2020)

Lady Desart was appointed to the Irish Free State Senate as an independent Senator in December 1922. She was one of the four women in the new Senate and she was the first Jew to serve as a Senator in Ireland.

She remained a senator until she died at Waterloo Road, Dublin, on 23 June 1933. In her will, she left £1.5 million to the charities she was associated with.

Beside the library, Lady Desart is commemorated by the Lady Desart Pedestrian and Cycle Bridge, which opened on 30 January 2014.

Lady Desart’s younger sister, Amélie Bischoffsheim (1858-1947), married Sir Maurice FitzGerald (1844-1916), 20th Knight of Kerry. When her father died, Amelia inherited Bute House in London, which she sold to the Egyptian government in 1927 – it is now the Egyptian Embassy.

And Lady Desart’s sister closed a circle on this summer’s ‘Road Trip,’ for Sir Maurice FitzGerald was the last of the Knights of Kerry to live on Valentia Island, one of the first stops on this two-week journey, and I had visited his grave in the churchyard at the ruined Saint John’s Church at Kilmore, outside Knightstown, early last week.

Kilkenny Castle and the River Nore seen from the Lady Desart Pedestrian and Cycle Bridge (Photograph: Patrick Comerford, 2020)

Saint Peter and Saint Paul,
a parish church in Clonmel
designed by three architects

The Church of Saint Peter and Saint Paul is a towering Roman Catholic church in the centre of Clonmel, Co Tipperary (Photograph: Patrick Comerford, 2020)

Patrick Comerford

On this week’s stopover in Clonmel, Co Tipperary, on the second phase of this year’s ‘Road Trip,’ I visited two of the landmark churches in the centre of the town – Old Saint Mary’s Church, which is the Church of Ireland parish church in the town centre, and the Church of Saint Peter and Saint Paul, the towering Roman Catholic church in the town centre.

In Roman Catholic Church, there are two main parishes in Clonmel, Saint Mary’s, Irishtown, coincides with half of the old Saint Mary’s and the ancient parish of inislouanaght; the other half of the old parish became the parish of Saint Peter and Saint Paul in 1836.

A church was built on the site of the present Saint Peter’s and Saint Paul’s in 1810 as a chapel of ease to Saint Mary’s, Irishtown. But Saint Peter’s and Saint Paul’s stood in a more important, central part of Clonmel, and soon became the main parish in the town.

Saint Peter and Saint Paul above the main entrance to the church (Photograph: Patrick Comerford, 2020)

The Very Revd Dr Michael Burke was appointed to the new chapel as its first parish priest. He introduced the Sisters of Charity to Clonmel, as well as the Christian Brothers, who opened a school in Blind Street (Kickham Street) in 1847.

Father Burke was responsible for extending the then chapel and added a pointed tower. Although his tower was later replaced, the bell he installed in the belfry is still heard today.

Father Burke was the parish priest of Saint Peter’s and Saint Paul’s for 30 years, and died in 1866. He was succeeded by Father John Power, who remained until he was appointed Bishop of Waterford and Lismore.

Bishop Power was succeeded by his brother, Father Roger Power, who stayed just two years before leaving for Tramore, Co Waterford, in 1876. On his transfer to Tramore Saint Peter’s and Saint Paul’s became one of the mensal parishes of the Bishop of Waterford and Lismore, under the directions of administrators.

Inside Saint Peter’s and Saint Paul’s, facing the liturgical east (Photograph: Patrick Comerford, 2020)

During his time in Clonmel, Father Roger Power planned a comprehensive scheme of church building. He obtained a design from an eminent Dublin architect, JJ O’Callaghan, for his planned work, but left Clonmel before the project began.

The plan for a new church, however, remained, and the new church was built in successive steps, the work being arranged so that each step should leave the church with a tolerably finished appearance and in fair working condition. When it was finished, the church had new aisles, new transepts, a new apse, a new and more elevated roof, a cloister, and finally a grand façade consisting of an ornamental front porch flanked by a baptistery on one side and a lofty campanile on the other.

On the death of Bishop John Power in 1887, his successor, Bishop Pierse Power, appointed a parish priest, the Revd Joseph A Phelan, who had been president for several years of Saint John’s College, Waterford. When he came to the parish, building operations had advanced but had left a heavy debt that had to be cleared before and further work could proceed. He organised weekly, house-to-house collections but he died unexpectedly in 1892.

Father Francis O’Brien was then transferred from Cappoquin, but his time in Clonmel was brief too, and he was transferred to Dungarvan in 1894. The Revd Thomas McDonnell returned to Saint Peter’s and Saint Paul’s for a second time, and became Dean when the diocesan chapter was revived. He died in 1906.

Inside Saint Peter’s and Saint Paul’s, facing the liturgical west (Photograph: Patrick Comerford, 2020)

Archdeacon Cornelius Flavin, who moved to the parish in 1906, carried the church project closer to completion, erecting the altar and pulpit.

Monsignor William Walsh, who was transferred from Lismore in 1919, completed the church and on Sunday 1 July 1934 the new church was solemnly opened. Bishop Jeremiah Kinane of Waterford and Lismore consecrated the new church and Archbishop Richard Downey of Liverpool, who was born in Kilkenny, preached the sermon.

Dean Walsh died in December 1935 and was buried in the church grounds. He was succeeded by Monsignor William Byrne and Saint Peter’s and Saint Paul’s was officially established as a parish on 8 February l936.

The mosaic decoration in the chancel is the work of Ludwig Oppenheimer of Manchester (Photograph: Patrick Comerford, 2020)

The building was designed in 1875 by John Joseph O’Callaghan (1838-1905), but was not completed until 1934. By then, Walter Glynn Doolin (1850-1902) and AWN Pugin’s son-in-law, George Coppinger Ashlin (1837-1921), had also worked on the church as architects.

The Romanesque style of the church was an unusual choice for O’Callaghan, but not for Ashlin. The mosaic decoration in the chancel is also characteristic of Ashlin, and is the work of Ludwig Oppenheimer of Manchester.

This Romanesque-style church stands on a prominent site on Gladstone Street and its distinctive tower is visible over much of Clonmel. It has a nine-bay nave with side aisles and bowed apse, a four-stage entrance tower at the south-east, a two-bay, two-storey parish office at the south-west and a two-bay, single-storey sacristy at the north-west.

The Ascension depicted in the apse above the mosaic decoration (Photograph: Patrick Comerford, 2020)

To meet post-Vatican II liturgical changes, the church was altered in 1974, when the pulpit was dismantled and re-used to support the tabernacle. But the church retains much of its original form, with fine craftwork in the window surrounds, hood-mouldings and finials.

The highly-ornate interior – particularly the apse with its Oppenheim gold-leaf designs – is a considerable artistic achievement. Other features worth watching out for include the stained-glass windows, including some from the Harry Clarke Studios. Ashlin’s Germanic square tower, crowned with a curvilinear dome, is instantly recognisable and is similar to designs Ashlin used in Limerick and Newry.

Saint Peter and Saint Paul depicted in a pair of windows in the church (Photograph: Patrick Comerford, 2020)